Documentation; 11/04/14

Today has been a step forward in the work on the palette, after a time of neglecting it in favour of rumination on how to modify it; objectify it. I began with some sketches, with the idea that I would break down the object into it’s inherent materials; metal, wood, nails, fixers etc. Then, I was interested in if this would be enough of a reduction to orchestrate the entropy of the object; of the form. It certainly morphs the object in a great way, and from this ideas of ‘breaking down’ and ‘decay’ came into play, but this is a tangent of my work that I don’t wish to pursue.

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The design consists of the wooden aspects of the object creating a wire-frame of a cube, and within this will be some form of cube created from the metal aspects. This juxtaposition of a busy, harsh, refined materiality with a more natural, decaying material is very interesting, and reinforces this ‘essence’ of a city that is seen throughout my work so far.

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However, as I began to take apart the object, I began to notice the inherent beauty within the design of it. Much like a piece I have recently seen in Tate Modern, labelled ‘Field’ (consisting of a board with hundreds of nails hammered in and bent slightly, as well as painted white; giving the piece an illusion of ‘movement’, as if the wind is blowing the nails.) From this, I decided to see how it looked as an object on the wall;

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Again, accidents create interesting results. Much like the idea of field, this arrangement of the object seems to add a layer of ‘nature’ to the piece, even though it has been refined into something unrecognisable as ‘a natural object’. It’s interesting, and I was thinking of keeping it that way; but in the end. I chose to take it down and keep breaking it down.

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Also, at this point; I moved the ‘coop’ off of the wall and onto the floor, and this actually allowed me to see it from a different view; at this level, it seemed more lowly and pathetic, rather than the domineering and intimidating atmosphere it exudes when placed high up on the wall. (If it were to be placed higher, would this intimidation be removed?)

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I then removed all of the wooden pieces from the palette, and rearranged them into a grid-like formation. Interestingly, there is a play on gravity here, as the wood must be balanced precisely in order for the entirety of the object to not fall down, and this gives the impression that the object is drifting apart, fraying at the seams almost, and thus giving a sense of decay once again, even if not at first glance. Also, I cannot decide between which side to display to the front (If I even display it against a wall, as it’s very interesting as an object to walk around and perceive from every angle) The side in which the metal top was driven into it holds this interesting, minimalistic ‘X’ design, which catches the eye and guides it along the grooves, whereas the ‘bottom’ side has these intense colours, where the wood has not succumbed to the weathering and rot that the outer sides of the wood has been accustomed too. It seems to ‘burn’ like fire, against the darker outer wood, and this contrast is really something to behold.

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